Gregson TRIPTYCH

OnDemand

Gregson, Edward Triptych

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Score begins on the next page.

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C o mpo ser’s No t e Competition pieces are always something of a dilemma for a composer. If you are not careful, the need to set an exacting technical test tends to predominate one’s thinking.

To avoid this, I have attempted to create a work that is as much of a musical challenge as a technical one.

I have structured Tript ych in three compact movements (hence the title), each of which has its own musical characterisation. The movements are unified through the common reference to Greek/Roman mythological sources in their individual titles, which in turn give a clue as to their character.

‘A Dionysian Dialogue’ takes up the idea of the conflict of ‘opposites’ which exists within our make-up as human beings. The ‘Dialogue’ is really between Dionysus and Apollo, or the metaphorical representation of this within ourselves. Thus, the Dionysian music is raw, earthy, sometimes violent, often ecstatic; whereas the Apollonian is serene, dreamy, calm, assured. The musical quotations are meant to invoke a layer of subconscious memory (mainly for violinists it should be said), as well as underlining the ‘opposites’ (so for me, the Walton and Bach = Apollonian, whilst the Stravinsky and Shostakovich = Dionysian). Performers should try to realise the maximum potential in this movement for opposing musical characterisation.

‘Song to Aphrodite’ is a love song. The two variations are, in turn, reflective (or dreamlike) and playful (or seductive). The reprise of the melody should create a sense of regret, or of a memory, half grasped, disappearing into the distance (perhaps love lost?).

‘A Celtic Bacchanal’ is really a musical romp, a tarantella-like scherzo, where sheer virtuosity is the order of the day. The use of ‘Celtic’ in the title simply alludes to the fact that towards the end of the movement the melodic character of the music becomes more akin to an Irish jig (chromatic elements are transformed into diatonic). As I am half Irish myself, there was nothing self-conscious about this gesture. Although the use of the bodhrán (Irish drum) is entirely optional in performance, some foot-stamping, in the manner of a folk fiddler, is to be encouraged – indeed, it would be entirely appropriate!

Edward Gregson August 2011

to Malcolm Layfield

Triptych for solo violin

Edward Gregson (2011)

I - A Dionysian Dialogue Tempo I° q = 66

Dramatically, with a sense of improvisation

G

k 5 E5 5

5: 5:

K

E55 BB

k E5 5

5 E5 5 5 5 5 5 5 5 K 5 5 5 5 5 5 5 5 5 5 k 5

5

E5

5: 5 5:

E55 55

ff

`a I5 I5 I5 I EE55 55 55 :: E 55 5 E 5

5 MM 3 = G =

5 5 5 3 5 5 E5 EE55

4

5

f

fp

ff

ord.

p legato

5

5 E5 5 5 5 5 5 5 5 5 5 5 5 : k 5 B 5: G E5 MM 5

5 5 M

7

ffp

9

ffp cresc.

Tempo II° h = 96 Strict tempo, but with energy

pizz.

ord.

!5 E5 5

4 5 5 : 5 5 !5 5 :

sf mp 13 pizz. ! 5 arco E 5 4 = !55 E5

5 G

5 5 5 E 5 sf f 18 : 5 5 55

5 : 5 5 G 4 /5 0 5: 5 : 5 5 G =

.

5 G 5

5.

5

.

5 5

p

5.

5

=

ff

mf

dim.

Š 2011 by Novello & Company Limited

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5 E5 5 :: 5 5 5 3

ff

4

sul pont.

MM M M

5 : E 5

ff

flautando

MM !

5 :

B

55M 55M1 55M 5M !

5 : 1

5 5 5 E 5 5 :

5 5 5 !5

mf 5 : 5 5 : 5 . . . .

5 : 5 E5 : !5 4 E 55!

55 55 55

ff

arco

!

5 : 5: fp

5 : 5 5 : 5 5: !5 E5 : 5 5 5 !5 E 5

pizz.

5 :

: = 5 5 = 5 5 5

5 sff J J sff J J 27

5 = 5 = 5 = 5 G BMM ' 5 3 = 4 MM

22

5 k 55 E5

sul pont.

arco sul pont.

5 5

M 4 55 f

M M 5 5 5 5

5 5: = 5 5 5 5 : 5 f

5 M M M M 55 55 55 5M 5 5 5

J J J J J J p J 5 = 5 5 = 5 5 = 4 5 5 ' B: MM MM poco a poco normale

K

6

II - Song To Aphrodite Dreamily, reflective (e = 90)

55 G k 55 55 55 5k 5 5 con sord.

5 mp legato

6

5 5 5 55 55 G k 5 5 5 5k 5 mp

555 55 k 5 5 5 k 5 5 = 5 5

55 55 55 55 55 k 55 55 55 55 55 5 5k k 5k

5

cresc.

"" 55 5 E5 !

5 G k 5 5 ! 5 E5k EE55 ! 5

11

5

k5 5

5 5 5 55 5 5 5 5 5 5k

f

5 5 k E5 !5 55 !5

dim.

55 !5 = k5

5

555 5 5 5 55!55 =

mf

poco cresc.

55 5 55 55 55 ! 55 5 5 5 5 5 5

E5

5k

5k 5 5k

5k

5 5 5 55 55 5 5 5 5k k

5 p

!!55 5 5 !55 5 5 5 5 k5 kE5

!5

5

5 5 5 55 5

5 k 5 5 5 5k

5

VAR.1 A little faster (e = 112)

I5 5 5 I5 5 5 I5 5 5 I5 I 5 I 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 G senza sord.

15

p flautando

I5 5

18

G

5 5 5 5 5 I5 5 5 ! I5 ! 5 5 E5 5 I5 5 5 5 E5 =

poco rit.

I5 5 5 I5 5 5 5 555 5

5

`a sul A " I5 I " I5 I " 5 I 5 21 5 5 5 5 5 5 5 5 5 5 5" 5 ! 5 I5 " " E 5" 5 I5 5 " 5 5 !5 5 5 5" 5 5 G a tempo

` 24

G

I5 5

poco accel. e cresc.

I5 I

5 5

5 55 5 !5 5 E5 5 5 5 5 !5 5 5 5 5 5 EI5 5E5 5 E5 5 5 !5 5 !5 !5 !5

poco rit. " " " "

5 K 5 5 27 5 5 5 5 5 5 5 5 55 5 5 5 5 5 5 5 5 G k 5 5 !5 5 5 5 5 5 5 !5 5 5 5 5 poco rit.

mf

dim.

a tempo

p

11

5 5 5 55 5 E55 5 55 5 555555 55:5 5 E55 5 55 5 55 5 55 5 !

5 E5 G

55 55 55 55 ! 55 55 E55 55

165

`a 5 5 5 5 5 5 : E5

G E5 5 5 5 5 5 5 :

55 55 55

170

fff

ff on the string

5 relax the tempo ! 5 sul G == 555 555555 555555 555555 f

dim.

Tempo II° (q. = 126)

5 5 E55 5 5 5 E55 5 5 5 E55 5 5 EI55 I5 I5 5 : 5 5 5 5 5 5 5 5 5 5 5 : G 5 5 5 55 5 5 5 I 5I mf dolce 5I

176

5

f

p

5 5 5 E5 5 181 5: I5 I5 I 5 5 5 5 5 5 5 5 5 5 5 5 E 5 E 5 E 5 5 5 5

5 5 5 5 5 5 : 555 G 5 5 5 5 5 5 5I 5I mf

5 5 5 5 5 5 5 5

5

5 5 5 5 5 5 5 5

f

5 5 !5 5 !5 5 5 5 5 5 5 5 5 5 5 E 5 5 5 5 E 5 !

5 5 5 !5 5 5 !5 ! 5 55

G

186

p leggiero

191

G

E5

poco accel.

5 5 E5 5 5 5 5 5 E5 5

E5

8)))))))) B: 5 5 5 5 mf cresc.

cresc.

a little faster

5 5 5 5 5

555 f marc.

555555

piĂš accel.

196

G

202

G

55

5 5 5

5 5 5 5 ))) )))) 8 )))) 5 ))) 8 5 5 5 5 5 5 5 5 !5 5 5 5 5 5 85 : 5 : 5 : E85 : 5k E5k k 5k

))))))))))) E 8B : 55 :: k E5 fp cresc.

5

¿¿ = = ff

Tempo 1 (q. = 144)

= : E 5 5 B: 5 5 5 p sul G

ff molto marcato

"" " " II 5 BB :: I 5 K sul G = !5 5 5 5 ff

p

K

13 Faster still (q. = 152)

quasi gliss.

5 55 5 5 5 5 5 5 55 5 5 5 55 5 1 5 5 = = 5: 2G 7 5:

5 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5: = = 5: 5: 5: 5:

245

N

0

ff

M BM:

0

250 sul G

1 5 2G 5 5 5 5 5 5 5 5 5 marc.

`a 5" 5"

p cresc.

5 5 5 5:

5 5 5 5:

55 55 55

55 55 55

f

brillante

5 5 5 5 5 5

55

55 55 55

5 5 E5 5 5 5

5 5 5 5

(off the string)

5 5 5 5:

N

5 5 5 5:

5:

= 5 5

5:

= 5 5

5:

= 5 5

p poco a poco cresc.

255

1 2G 5 5

55 55 55

5:

N

55 55

= 5 5

5 5

55 55

5:

55

55 55

= 5 5

55

E5 5 55

5 5

55 5 5 5k = = 5 5 5 E 5 5 5 5 5 5 55 5 f

5 5 5 5 5 5

dim.

4:

5:

0

ff

E5 5 5 E5 5 5 5 5 5 E5 5 5 5 5 E5 E5 5 5 5 5 5 5 5 5 5 5 E 5 5 5 5 G

260

p flautando

dim.

`a (ricochet) " " 5 5" " " " M 5 5 " M 265 " " " 5 5 5 5 5 5 5 5 5 5" 5" 5"M M M M 1 5 = = 4: = = =

G 2 55 55 55 II I

pp 2: ff N

(Bodhrain)

0

0

0

4:

= 5 5 ff

5:

4: